A Burns Night Event in London, When Everyone is Scottishby Randi / January 29, 2015
A most unnecessary thing in this world is to ‘review’ anything Audra McDonald does. She’s the greatest singer in the world and one of the most effective actors. Any time she opens that goddamn fabulous trap of hers, it’s going to be the greatest sound you’ve ever heard. So, we’re not really going to review last weekend’s concert at Madrid’s Teatro Real; we are just going to gush about it. Because that’s all you can do when Audra performs.
I’ve had the ridiculous good fortune of being able to see Audra perform live every year since 2001, when I attended a master class for high school students that she held during the opening season of Philadelphia’s Kimmel Center. I remember she mentioned “my friend Julie Andrews” and I was like this is the coolest person ever. That night, we all got to attend her concert, and minds were blown like balloons. I remember hearing for the first time the incredibly fun songs “Bambalele” and “I Double Dare You” (both on her album “Happy Songs”). I’m pretty sure she sings the latter at every concert, and with dern good reason. It is SO FUN, and she clearly enjoys singing it. Also, it includes the lyric “You seem to think that half aloof is better than none”, which I adore.
I’ve had the ridiculous good fortune of being able to see Audra perform live every year since 2001, when I attended a master class for high school students that she held during the opening season of Philadelphia’s Kimmel Center. I remember she mentioned “my friend Julie Andrews” and I was like this is the coolest person ever. That night, we all got to attend her concert, and minds were blown like balloons. I remember hearing for the first time the incredibly fun songs “Bambalele” and “I Double Dare You” (both on her album “Happy Songs”). I’m pretty sure she sings the latter at every concert, and with dern good reason. It is SO FUN, and she clearly enjoys singing it. Also, it includes the lyric “You seem to think that half aloof is better than none”, which I adore.
When her 2015 tour was announced, only one European date was on the list – in Madrid. It’s a mystery to me how Madrid got sandwiched between Florida and North Carolina. Did the Teatro Real seek her out? Did she have private business already bringing her to Spain? Were there just good flight deals? It makes no sense! Since I’m in London, going to Madrid was easy enough and so worth it. In her Spanish debut, Audra may have given her best concert performance yet.
I assumed the concert would be sold out, because it’s Audra, until husband was like, “Um, we’re in Spain; do they know her??” and I got nervous. But that was dumb, because who doesn’t know Audra?? The 7 or so enormous levels in the Teatro were all very full, and I couldn’t see a single open seat in the orchestra. Duh.
She began, as she does, by walking out and immediately singing her first number, without addressing the audience. I love that she is so baller that way. She began with Kander & Ebb’s “Sing Happy”, from a show that is actually called “Flora, the Red Menace”, which sounds like a period piece. The other kind. It’s an okay song, extremely repetitive, but she made it great. Afterwards, she addressed the audience in hilariously bad Spanish, thanking everyone and saying how excited she was to be there. I got nervous that the whole show would be in broken Spanish. It was easily understandable basic Spanish; that’s not the point. But the best part of Audra concerts is her storytelling, so personal and touching and lovely. Luckily, her little speech ended with “well from now on I’ll be speaking in English the rest of the night, because Spanish for me is a disaster.” However you say that in Spanish. It was adorable. Her stories were noticeably abridged because she tried to speak in more basic English so more people could potentially understand. Nice of her!
The lineup that followed included a mix of Rodgers & Hammerstein, Sondheim, more Kander & Ebb, and lots of other legendary composers of Broadway classics. She of course sang “I Double Dare You”, continuing her streak, and another super old song called “My Buddy” that she does often. In her intro to “My Buddy”, she mentions how she came upon a war veteran singing this song outside her favorite restaurant in NYC. (She didn’t mention this time that that favorite restaurant is Chipotle; I guess she knew they don’t have them in Spain. I really wanted to shout to the whole theatre “She’s talking about Chipotle hahahah!”.) The sad story of another homeless war veteran, reinforcing how shittily the USA treats them, is lightened somewhat by her promise to sing the song in the same key the vet sang it in, leading you to expect her to sing it quite low, only to laugh when it’s super high. She does say doing it in the same key is “impressive, for one of us.” I love that.
I assumed the concert would be sold out, because it’s Audra, until husband was like, “Um, we’re in Spain; do they know her??” and I got nervous. But that was dumb, because who doesn’t know Audra?? The 7 or so enormous levels in the Teatro were all very full, and I couldn’t see a single open seat in the orchestra. Duh.
She began, as she does, by walking out and immediately singing her first number, without addressing the audience. I love that she is so baller that way. She began with Kander & Ebb’s “Sing Happy”, from a show that is actually called “Flora, the Red Menace”, which sounds like a period piece. The other kind. It’s an okay song, extremely repetitive, but she made it great. Afterwards, she addressed the audience in hilariously bad Spanish, thanking everyone and saying how excited she was to be there. I got nervous that the whole show would be in broken Spanish. It was easily understandable basic Spanish; that’s not the point. But the best part of Audra concerts is her storytelling, so personal and touching and lovely. Luckily, her little speech ended with “well from now on I’ll be speaking in English the rest of the night, because Spanish for me is a disaster.” However you say that in Spanish. It was adorable. Her stories were noticeably abridged because she tried to speak in more basic English so more people could potentially understand. Nice of her!
The lineup that followed included a mix of Rodgers & Hammerstein, Sondheim, more Kander & Ebb, and lots of other legendary composers of Broadway classics. She of course sang “I Double Dare You”, continuing her streak, and another super old song called “My Buddy” that she does often. In her intro to “My Buddy”, she mentions how she came upon a war veteran singing this song outside her favorite restaurant in NYC. (She didn’t mention this time that that favorite restaurant is Chipotle; I guess she knew they don’t have them in Spain. I really wanted to shout to the whole theatre “She’s talking about Chipotle hahahah!”.) The sad story of another homeless war veteran, reinforcing how shittily the USA treats them, is lightened somewhat by her promise to sing the song in the same key the vet sang it in, leading you to expect her to sing it quite low, only to laugh when it’s super high. She does say doing it in the same key is “impressive, for one of us.” I love that.
One of my favorite moments was when she sang “Stars and the Moon”, Jason Robert Brown’s song from “Songs for a New World”. Although I am the world’s biggest proponent of everyone shutting the f up during shows, I couldn’t help cheering when she talked a bit about Brown, one of my favorite composers. She mentioned that he won Tonys for last year’s “The Bridges of Madison County” and I kind of shrieked with glee. She also said he has a new show on Broadway now called “Honeymoon in Vegas” and it took all my strength ALL OF IT not to yell I KNOW AUDRA I SAW IT A FEW WEEKS AGO I’M SO COOL. I have to remember that her concerts are not opportunities for conversations. Anyway, “Stars and the Moon” was the first song I ever heard Audra sing, and so it has a very special place in my heart. I almost cried, I was so happy to hear it live. It’s a sad song about a woman who shuns love on multiple occasions in pursuit of more material gains, only to realize once she has all the material nonsense she wished for that she will never find real love again. What an idiot.
Thinking back on the playlist, I want to call every single number a highlight. Except for an almost boring lullaby here and there, there were no weak points. The absolute standout by far was that she shared her Tony-winning performance of “Summertime” from Gershwin’s “Porgy & Bess”. She sang without the microphone, as it was in a high enough operatic register for the audience to hear it well without the mic, and with only light piano accompaniment. It was pretty much the most astounding vocal performance you could ever hope to hear.
Here is a video of Pohgy’s Tony performance so you can hear a bit of Audra and then listen to Normy sing “I Got Plenty O’ Nothin’” because I love it. Also his voice breaks because you can’t warm up well before Tony performances and it’s adorable if unbelievably embarrassing for him.
Another highlight was Audra’s take on “Moments in the Woods” from Sondheim’s “Into the Woods”, and she mentioned several times that the movie starring Meryl Streep was now playing. The Baker’s Wife is notorious for being the most difficult and important role in “Into the Woods”, and this song of hers exemplifies that. It’s a delicate balance between humor and poignancy and regret, and Audra, even though this was just a concert, acted all of this perfectly. Just so impressive. Why is she never in Sondheim shows?
One song that she thankfully didn’t sing in character was “Maybe This Time” from “Cabaret”. Although Sally Bowles is pretty much the #1 role actresses want to play in their careers, her songs cannot be sung well in the play, because Sally is supposed to be a pretty crappy singer in the Kit Kat Klub. (You can currently see this being well played (terribly sung) by Emma Stone on Broadway.) It’s a shame, because Sally’s songs are so phenomenal, none more so than “Maybe This Time”. It’s her one moment of hope and resolve in the whole show, and the song is so powerful even though it’s not beautifully sung. Well, Audra gives all of musical theatre a huge gift by doing this song in concert, where she’s free to sing it out of character and thus beautifully. Just Jesus H it’s the best. I love how, in this video of her singing it a few years ago, the audience applauds when it recognizes the opening bars; everyone is that excited to hear this song sung as powerfully as it can be outside the confines of the character.
One song that she thankfully didn’t sing in character was “Maybe This Time” from “Cabaret”. Although Sally Bowles is pretty much the #1 role actresses want to play in their careers, her songs cannot be sung well in the play, because Sally is supposed to be a pretty crappy singer in the Kit Kat Klub. (You can currently see this being well played (terribly sung) by Emma Stone on Broadway.) It’s a shame, because Sally’s songs are so phenomenal, none more so than “Maybe This Time”. It’s her one moment of hope and resolve in the whole show, and the song is so powerful even though it’s not beautifully sung. Well, Audra gives all of musical theatre a huge gift by doing this song in concert, where she’s free to sing it out of character and thus beautifully. Just Jesus H it’s the best. I love how, in this video of her singing it a few years ago, the audience applauds when it recognizes the opening bars; everyone is that excited to hear this song sung as powerfully as it can be outside the confines of the character.
It’s no secret how much I love sing-along moments in fun songs – Berthe’s “No Time At All” in the recent “Pippin” revival, “Wig In A Box” in “Hedwig” – as long as they are kept brief, so I loved when Audra asked the audience to sing along with her in “I Could Have Danced All Night” and then after a few choruses said “Okay hush it’s my solo.” She is hilarious! She did mention Julie Andrews, of course, whose version is the most well known, but she didn’t call her “my friend Julie Andrews”, so that was a let-down. Maybe they aren’t friends anymore because of “The Princess Diaries” or something.
Proving how wonderful an actress she is, the most impressive parts of the concert were her most moving, emotional songs. Along with “Summertime”, a notable song in this category was “Go Back Home” from Kander & Ebb’s “The Scottsboro Boys”. We all know how I feel about that show and how depressing and necessary it is. “Go Back Home” is the most beautiful and notable song from the musical, and Audra made it lovelier than ever. More importantly, she talked about how she is so involved in the gay rights movement because her life was made possible by the civil rights movement, and how we all owe it to each other to try to make things better and fight for equality across the board. That’s when she mentioned that without the struggle of people in the civil rights movement, she wouldn’t have been able to marry her white husband, Will Swenson, who was SITTING IN THE FRONT ROW. I didn’t know that until that point. I was in the first balcony closest to the stage so I could have thrown something at him but you can’t throw a hug.
Proving how wonderful an actress she is, the most impressive parts of the concert were her most moving, emotional songs. Along with “Summertime”, a notable song in this category was “Go Back Home” from Kander & Ebb’s “The Scottsboro Boys”. We all know how I feel about that show and how depressing and necessary it is. “Go Back Home” is the most beautiful and notable song from the musical, and Audra made it lovelier than ever. More importantly, she talked about how she is so involved in the gay rights movement because her life was made possible by the civil rights movement, and how we all owe it to each other to try to make things better and fight for equality across the board. That’s when she mentioned that without the struggle of people in the civil rights movement, she wouldn’t have been able to marry her white husband, Will Swenson, who was SITTING IN THE FRONT ROW. I didn’t know that until that point. I was in the first balcony closest to the stage so I could have thrown something at him but you can’t throw a hug.
Her most upsetting song I knew was coming and yet I couldn’t do anything to stop the cryfest. I’ve heard her sing “I’ll Be Here” by Adam Gwon three times in concert now, and every time she intros the song by explaining how Gwon won the Fred Ebb award and how he’s one to watch. So I knew she was going to sing this unbelievably sad and moving and just absolutely perfect song about living during 9/11 and losing love and it still hit me and everyone else in the audience like a ton of bricks. Every time she sings this song, I think every single audience member sobs uncontrollably. Maybe less so here because of the language barrier, but there were still a good deal of sniffles.
Her last official song was the crowd-pleasing “Climb Ev’ry Mountain”, so she got to talk about everyone’s favorite thing, the Carrie Underwood-led “The Sound of Music Live!” She didn’t mention the exclamation point in the title but man alive can she sing this song. It was wonderful. So wonderful, that the audience simply could not stop applauding in its standing ovation. She came out a few minutes later for an encore of “When Did I Fall In Love”, which she often opens with. It’s a rousing, joyous song from the musical “Fiorello!” with another exclamation point. And yes, to husband’s disbelief, it is indeed a musical about NYC mayor Fiorello LaGuardia.
The audience couldn’t stop applauding again after this encore. It was so nuts that Audra was forced to come out again for a rare second encore. She and her long-time musical director and pianist Andy Einhorn looked through his music trying to find something to sing, and they settled on “Over The Rainbow”, complete with that incredible introduction that I love so much. I love how many people’s faces were like “Wait what song is this…?” during the intro and then when it resolves into the familiar “Somewhere over the rainbow” their faces showed their recognition. It was a perfect final song to an absolutely perfect concert. We tried waiting at stage door to meet Audra (and Will), but after 45 minutes in absolutely feet-numbing cold we had to call it. Even I have stage door limits. Also we had other shows to see (late night flamenco!). But that experience couldn’t at all tarnish this stunning evening by the world’s greatest singer. If you ever are near one of her concert stops, you have to go.
The audience couldn’t stop applauding again after this encore. It was so nuts that Audra was forced to come out again for a rare second encore. She and her long-time musical director and pianist Andy Einhorn looked through his music trying to find something to sing, and they settled on “Over The Rainbow”, complete with that incredible introduction that I love so much. I love how many people’s faces were like “Wait what song is this…?” during the intro and then when it resolves into the familiar “Somewhere over the rainbow” their faces showed their recognition. It was a perfect final song to an absolutely perfect concert. We tried waiting at stage door to meet Audra (and Will), but after 45 minutes in absolutely feet-numbing cold we had to call it. Even I have stage door limits. Also we had other shows to see (late night flamenco!). But that experience couldn’t at all tarnish this stunning evening by the world’s greatest singer. If you ever are near one of her concert stops, you have to go.
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We Return to Live Theatre! ‘Adventures with the Painted People’ at Pitlochry Festival Theatre
PEOPLE! Can you believe it? For the first time since March 14, 2020, when we saw Uncle Vanya in the West End and the guy behind me coughed a bunch and we realized ‘oh this is bad’ (the spectre of disease, not the play; the play was incredible) (and then I had covid – was it from him? we’ll never know (just kidding I know it was you asshole)), we were back at a LIVE FORKING SHOW in person in a theatre! Well not ‘in’ – our first show back wisely took place in an outdoor amphitheatre; we’re not crazy! Gimme that wind if I’m around other people! But wow, can you imagine how excited I am? I LOVE THE THEE UH TUHHH.
I wonder if the excitement of being back would have made me enjoy even a bad play, but we will never know because Official Return Show was quite an impressive little treat. ‘Adventures with the Painted People’, by David Greig, is a four-hander (you remember how I changed the terms to make them accurate?) that tells of a Roman officer named Lucius who gets kidnapped by Picts. It’s 2000 years ago and Romans have taken over, killed all the good Pictish men, ruined everything as invaders do for native peoples. When a group of Pictish boys find the stray Roman by the water, they knock him out and bring him to their tribe’s witch, Eithne, to be a sacrifice, naturally.
For someone being tied up in a witch’s ‘house of the dead’ which is really a cave of the dead which is much worse, Lucius never seems too angry or upset. Nicholas Karimi’s portrayal is really likeable, and you’re like aw I hope he doesn’t get sacrificed. He writes insubstantial poetry, but you can tell he feels more dreamy than the rigidity of a Roman officer’s life would normally allow. And that makes for a good pairing with Kirsty Stuart’s Eithne, the Pictish version of a manic pixie dream girl if ever there was one. (Manic pictish dream girl OH MY GOD.) She’s full of energy and conversations with spirits and flowery language, compared to the Roman’s straight lines. And yet, as she tells her captive, she wants his help to become Roman, so that she can implore the governor to work with her to implement peace instead of continued violence on her people. Maybe if he helps her, she won’t sacrifice him. Also if there’s a good pig she won’t need to.
In this early-AD Odd Couple, Eithne, witch of the salmon people who only tell stories by fire pit, learns how to read and write, learns about world history, learns about Roman life and laws. Lucius learns about the Pictish people, those that his mission has been to quash, and decides to write about this woman and her life. They both warm to each other. Over the weeks they study together in this cave, they become friends, and then they start to fall in love, obvs.
A love story between these two stark contrasts – one of straight lines, one of nature and spirits; one of the invaders vs. one of the oppressed natives – could easily have been as trite and schmaltzy (and annoying) as other attempts at heartfelt stories between colonizer and victim usually are. Although I feared that the final scene would be a bit like the U.S.-only ending of the 2005 Pride & Prejudice – which is superior, but too romantic for Brits apparently – this play managed to avoid all potential traps due to its strong writing delivering on a well-formed idea of what it wanted to accomplish. It did so with humor, great performances, and solid direction from Elizabeth Newman. I really enjoyed the set design and staging (I can’t find if Lizzie or someone else is responsible for the design), especially the circle of fire (erma erma) and the gorgeously done mosaic reveal (LOVED). The only thing I didn’t enjoy was that the little fire pit onstage blew all its smoke right in my face for a good hour as it died out, like no matter what the wind brought it right into my face, the face of the person in that audience who tolerates smoke the worst. My eyes are still burning two days later (they are like pumice, it’s not great). But that’s just me I’m weird. (See seating info below.)
Between the otherwise fresh air in Pitlochry and the lack of a stranger sitting right next to me (keep this up forever, maybe?), this returnship was about as nice as I could have hoped. Sure I got so nauseous on the winding Napoli-coastline-style drive that we had to stop so I could [redacted], but still, what a night. I highly recommend this show.
INFORMATION
The outdoor amphitheatre is up a windy hill, and although the main building and parking lot is a construction zone at present, the climb up and the amphi’s setting is beyond gorgeous. I need to talk to whoever is in charge of their gardening because um I need your help. Although the setting is lovely, the walk may be difficult for those who are less ambulatory.
Because the main building’s under construction and the shows are happening in this relatively small outdoor area at the top of a freaking hill, that means the toilets are unavailable. There is a portapotty up on the hill – one, for everyone. Luckily it never got too crowded (do Scottish people not pee??) but I was less than thrilled about having to use a porto three times (three is the bare minimum for me at the theatre, what fun I have). It was clean and whatever but I dreamt longingly of the endless immaculate newly refurbished stalls of Broadway’s Lyric Theatre, oh those were the days. Oh there are two bar setups up there as well. Nothing more UK than two spacious bar setups with like four staff members, but one toilet.
You have to wear masks everywhere except when you are seated, which seems a bit nonsensical since that’s when you are closest to other people and not walking around an incredibly spacious garden setting. That should really be rethought. Groups are sat so there’s a good few feet between them on each row, but it doesn’t stagger from row to row, meaning you have someone right behind and right in front of you. I guess that’s smarter than being surrounded on all diagonals? but because of it I wish they didn’t actively tell people they could take their masks off once seated.
The seating is open plan; an usher will seat you as you arrive. They sat us on the far aisle from where you enter, second row, so don’t sit there if you hate smoke. Although that was probably a unique occurrence from the universe just to fork with me so you’ll be fine.
‘Adventures of the Painted People’ plays at the Pitlochry Festival Theatre (in Perthshire, the most beautiful part of Scotland), until July 4, when I assume the closing performance will be marked with nonstop fireworks from your shitty neighbors. Just kidding, not in Scotland baby!
Audra McDonald in “Lady Day at Emerson’s Bar & Grill”: A Once In A Lifetime Performance
The minute the unmatched Audra McDonald opens her mouth onstage, you are transported back 50 years. You’re no longer watching the greatest living musical talent of our time but the great pioneering musician of the past, Billie Holiday. You’re in Emerson’s Bar & Grill, one of Billie’s favorite places to perform in Philadelphia, recreated on Broadway in an intimate space in the Circle in the Square theatre. And everyone around is gasping.
This isn’t an imitation happening onstage, but a full transformation and embodiment of Lady Day, from the mannerisms to the stance to the way she moves her eyes. It’s magic happening in front of you as Audra channels Billie Holiday. Seriously, everyone was gasping and pretty much didn’t stop (at least the people next to me didn’t stop, despite my repeatedly throwing shade).
This isn’t an imitation happening onstage, but a full transformation and embodiment of Lady Day, from the mannerisms to the stance to the way she moves her eyes. It’s magic happening in front of you as Audra channels Billie Holiday. Seriously, everyone was gasping and pretty much didn’t stop (at least the people next to me didn’t stop, despite my repeatedly throwing shade).
Holy bald head Batman
If you’re a fan of Holiday (“Do you like Billie Holiday?” “I love him”), this show will astound you and leave you breathless. But even if you are unfamiliar with her wonderful catalogue (including such gems as “What A Little Moonlight Can Do”, “When A Woman Loves A Man”, “Tain’t Nobody’s Biz-ness”, and of course the unmatched and haunting “God Bless The Child” and “Strange Fruit”, all of which are performed to perfection here), you will leave the show wanting to become a Billie Holiday fan.
In between the many songs, which are so astonishing it’s like you could say you actually saw Billie Holiday in concert, Audra tells her concert audience (“my friends”, she calls us) little stories that illustrate her life. This is where the real magic happens, and this is where Audra wins her sixth Tony. Some stories are hilarious yet they all express the untold heartache she has had to experience. She speaks and stumbles and falls and it’s Billie Holiday. She drinks, smokes, walks through the table seating, wanders offstage for several minutes to retrieve her dog, who’s her best friend. She holds back tears, and the audience does too. It’s all Billie.
The stories she tells come up organically between songs and are perfect glimpses into Billie’s turbulent life. She looks back at her backup musicians and drifts off in thought about her old love, a musician who was a drug addict (she says “herwan” and it’s adorable). She tells how the man would say to her, “If you really loved me you’d try it too,” and despite her protests, he kept at it, making her feel unnecessarily guilty and terrible until she couldn’t argue anymore. Her stories are full of people she thought she loved weakening her and manipulating her until they hurt her and took advantage of her. Yet she was still strong. And despite Audra’s hunched posture, wild eyes, and frightening imbalance, she successfully conveyed this inner strength.
The stories about her mother were the most heartbreaking parts. Everyone called her tiny mother “The Duchess”, and Billie makes lots of jokes about how little the Duchess was and how big she herself was. The Duchess had Billie as a very young teenager and put her to work early in various kinds of houses they stayed in. Billie recounts ‘the first time’ she was raped as a young child in one of these houses, told in a tone so casual it showed how accustomed to trauma and tragedy she had become.
One of the most repeated thoughts she shares is that she always wanted a nice house and children, and how much she loved children. She never had any, or had any stability in her life. The beauty of the performance helps to balance just how sad everything is. It’s really a fool’s errand to try to describe how wonderful this show is. If you can get to New York before it closes in August, you absolutely must see this performance of a lifetime. If you can’t, watch the clip below. (Don’t watch it if there’s any chance you can see the show. You don’t want to be spoiled.)
And if somehow you’ve lived under a rock until today and you have never heard the magic that is Audra McDonald’s singing and you think the “Lady Day” producers just found a woman who sounded like Billie Holiday, here’s a video of her actual voice.
